How architecture powered European energy politics in the postwar era and paved the way for today’s dependency on coal, steel, and nuclear power.

A techno-fiction novel on the uneasy desire for anti-rationalist ideas on the internet, and their intersections with Asian futurisms and reactionary mythologies, conceived in parallel with the video project GROTESKKBASILISKK! MINERAL MIXTAPE by Mochu, as part of his solo exhibition at the Edith-Russ-Haus for Media Art

In the context of INLAND’s Academy at documenta fifteen, Microbiopolitics of Milk presents the grounding basis for a research project around milk as a bio-cultural substance.

While machine learning—computer programming designed for taxonomic patterning—offers useful insights into racism and racist behavior, a gap is present in the relationship between machine learning and its connection to the racial history of science and the Black lived experience.

What if art holds solutions to the ecological crises of our time?

How do the two technologies of blockchain and artificial intelligence actualize and, crucially, automatize the cognition of time? These kinds of machines are increasingly part of both our contemporary present and our prospective future, but how do we really define a present and a future? And more importantly, how do these machines themselves understand, know, and sense time?

The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices. The prospect of a fully automated future—while acutely reshaping the notions of work, production, and value creation—also feeds emancipatory scenarios ultimately leading to the end of labor. Total automation is upon us but its liberating promise is yet to be claimed.

Initiated by Swedish artist Anna Lundh, Visions of the Now is a reconsideration of the 1966 Stockholm festival Visioner av Nuet (Visions of the Present), which aimed to examine the impact of technology on humanity, society, and art; half a century later, we are immersed in the technology that was still “new” in 1966.

Craig Kalpakjian engages with both historical art discourses and contemporary issues. Intelligence considers the ideas of artificial intelligence exhibited by machines, as seen in the Sony AIBO robotic dog, and human intelligence, like that which is gathered through interpersonal contact by the US military in accordance with the “US Army Field Guides Manual on Interrogation” a guide that prohibits abusive techniques of torture.

Addressing the current upswing of attention in the sciences, arts, and humanities to the proposal that we are in a human-driven epoch called the Anthropocene, this book critically surveys that thesis and points to its limitations.

There are eight million stories of the origins of the digital in architecture, and this book brings together fourteen of them. The arguments address specific changes in ways of thinking about architecture, building, and cities, as well as the shifts in technology that resulted from these changes, marking both a capstone of Archaeology of the Digital and the start of an investigation into other beginnings of the digital in architecture.

This collection of art and theory analyzes today’s post-digital conditions for critical media practices—across and beyond the analog and the digital, the human and the nonhuman. The contributions also look across and beyond the field of media art, staking out new paths for understanding and working in the transversal territories between theory, technology, and art.

Rare Earth is an attempt to define the spirit of an age. Exploring how today’s myths, identities, and cosmologies relate to current advances in technology—through reference to the material basis to our most developed weapons and tools; a class of seventeen rare earth elements from the periodic table—Rare Earth challenges the rhetoric of immateriality associated with our hypermodern condition.

Benjamin H. Bratton’s kaleidoscopic theory-fiction links the utopian fantasies of political violence with the equally utopian programs of security and control. Both rely on all manner of doubles, models, gimmicks, ruses, prototypes, and shock-and-awe campaigns to realize their propagandas of the deed, threat, and image. Blurring reality and delusion, they collaborate on a literally psychotic politics of architecture.

Today we live in a world that can be described as an “internet of things,” one that embraces digital technologies, and fulfills the dream worlds envisioned by twentieth-century writers, architects, and artists. The internet is an ever-growing storage space of information that we have come to rely on—but what does this thing called the internet really mean? And does it still exist?

This book excavates the notion of forensis (Latin for “pertaining to the forum”) to designate the role of material forensics in articulating new notions of public truth. The condition of forensis is one in which aesthetic practices, new technologies, and architectural research methodologies bear upon the legal implications of political struggle, violent conflict, and climate change.

Archaeology of the Digital delves into the genesis and establishment of digital tools for design conceptualization, visualization, and production at the end of the 1980s and the beginning of the 1990s. Conceived as an object-based investigation of four pivotal projects that established distinct directions in architecture’s use of digital tools, the book highlights the dialogue between computer sciences, architecture and engineering that was at the core of these experiments.

Through the contribution of internationally renowned artists and scholars, this anthology explores how the aesthetics of new media technology and its spatial implementations affect the judicial system in relation to fundamental concepts such as truth and representation.